As with the original Star Trek, TNG was still very much about exploration, "boldly going where no one has gone before". Similarly, the plots captured the adventures of the crew of a starship, namely the USS Enterprise-D. Despite the apparent similarities with the original series, the creators of TNG were adamant about creating a bold, independent vision of the future. The public did not widely accept the show on its own terms until the airing of "The Best of Both Worlds", which marked a shift towards higher drama, serious plot lines, and a less episodic nature. This helped pave the way for Star Trek: Deep Space Nine and its two-year-long Dominion Wararc and preceding build-up, as well as the third and fourth seasons of Star Trek: Enterprise. Star Trek: Voyager capitalized on the heightened crew relationships and familial bonds first seen on The Next Generation. DS9, on the other hand, balanced political intrigue, character development, and series-long plot threads with a rerun-friendly format.

As with the original Star Trek, TNG's special effects utilized miniatures, but due to great advancements in computerized effects and opticals, the show leaped ahead of its predecessor in terms of quality effects. This series marked the greatest surge in Star Trek's mainstream popularity, and paved the way for the four later televised Trek shows.

Star Trek: The Next Generation was originally pitched to the then-fledgling Fox Network. However, they couldn't guarantee an initial order greater than thirteen episodes, not enough to make the enormous start-up costs of the series worth the expense. It was then decided to sell the series to the first-run syndication market. The show's syndicated launch was overseen by Paramount Television president Mel Harris, a pioneer in the syndicated television market. Many of the stations that carried The Next Generation had also run The Original Series for a long time.

According to issues of Star Trek: The Official Fan Club Magazine from early 1987, TNG was originally planned to be set in the 25th century, 150 years after the original series, and the Enterprise would have been the Enterprise NCC-1701-G. Gene Roddenberry ultimately changed the timeline to mid-24th century, set on board the Enterprise NCC-1701-D, as an Enterprise-G would have been the eighth starship to bear the name and that was too many for the relatively short time period that was to have passed.

Star Trek: The Next Generation was billed initially as being set 78 years after the days of the original USS Enterprise. [1](p. 16) However, after the series' first season was established as being set in the year 2364, this reference became obsolete as dates were then able to be set for the original series and the four previous films. When this happened, it was established that the events of the original series were about a hundred years before the events of TNG. With TNG's first season being set in 2364, 78 years prior would have been 2286. Star Trek IV: The Voyage Home partly takes place during this year along with the shakedown cruise of the USS Enterprise-A.

On the special The Star Trek Saga: From One Generation To The Next, Gene Roddenberry commented, "On the original Star Trek, I practically lost my family from working so many twelve-hour days, fourteen-hour days, seven days a week, and I told them, 'You can't pay me enough to do that.' But then they said, 'Hey, but suppose we do it in a way in which' they call syndication, 'in which we don't have a network and we don't have all those people up there?' And Paramount was saying to me, 'And we guarantee that you will be in charge of the show.'"

Andrew Probert was first hired by Roddenberry in 1978. However, not until 1986, when Roddenberry was preparing to launch a new show, entitled Star Trek: The Next Generation, did he call upon Probert to take a lead design role. Everything had to be rethought, imagined, planned and redesigned. As the vision evolved in the designers' minds, the evolution was charted in successive sketches and paintings.

Among Probert's creations, in addition to the new Enterprise starship and many of its interiors including the main bridge, are many other featured spacecraft. The Ferengi cruiser, and even the Ferengi species, are Probert designs.

Roddenberry originally insisted on doing a one-hour pilot and assigned D.C. Fontana to write the episode, first titled Meeting at Farpoint. However, the studio was keen on having a two-hour pilot, mainly because they wanted something big and spectacular to launch the series, especially considering first-run syndication. Roddenberry himself volunteered to extend Fontana's script to two hours, eventually adding the Q storyline to it.

Ronald D. Moore commented, "Gene did not want conflict between the regular characters on TNG. This began to hamstring the series and led to many, many problems. To put it bluntly, this wasn't a very good idea. But rather than jettison it completely, we tried to remain true to the spirit of a better future where the conflicts between our characters did not show them to be petty or selfish or simply an extension of 20th century mores." (AOL chat,1997) Rick Berman explained, "The problem with Star Trek: The Next Generation is Gene created a group of characters that he purposely chose not to allow conflict between. Starfleet officers cannot be in conflict, thus its murderous to write these shows because there is no good drama without conflict, and the conflict has to come from outside the group." (Captains' Logs Supplemental - The Unauthorized Guide to the New Trek Voyages, p. 8)